15. Nov 11. Jan 2015

Musikerne Maler, Malerne Musicerer og Digterne Holder Kæft ( ((> )

In 2013 Overgaden launched the annual exhibition series REVISIT, which returns to key exhibitions in the history of Overgaden – exhibitions that have been benchmarks in Danish contemporary art, formative for the participating artists, or experiments characteristic for the period in which they were made. With the series, Overgaden aims to investigate and chart its own position in Danish art history, as well as drawing historical links between the artistic practices that have been shown over the years.

REVISIT: Musikerne maler, malerne musicerer og digterne holder kæft (‘The Musicians Paint, the Painters Make Music and the Poets Keep their Mouths Shut’) is the second time we revisit Overgaden’s back catalogue. This time we visit the year 1989, when the writer and musician Vagn E. Olsson from the legendary Danish punk band No Knox organised an exhibition inviting a broad range of leading contemporary visual artists and musicians to work across the boundaries of artistic media using amateurism as their creative driving force. The exhibition was based on the restless energy of punk, the belief that three chords on a guitar were all it took to call yourself a musician, and the somewhat delayed influence of the German art scene, which in 1981 had celebrated the arrival of a new zeitgeist under the title ‘Geniale Dilletanten’. Musikerne maler, malerne musicerer og digterne holder kæft was an overdue and schizophrenic Danish manifestation of a generation, but also an epitaph for punk in Copenhagen. The exhibition was comprised of artists’ experiments in media they did not usually work with, and – perhaps most importantly – created a platform for an extensive programme of concerts, readings and performances.

In 1989 Overgaden was a radically different place than it is today. Artists could apply to the board for an exhibition period, then just pick up the key and get to work. There was no staff, no curatorial overview and no grand plan. We usually like to claim that Overgaden has been professionalised since – but what does that really mean? With REVISIT 2014 we therefore want to revisit not only a key exhibition in the history of Danish contemporary art, but also another kind of organisation. Overgaden has invited six Danish artists all working in the field of cross-medial art, and given them free rein over the upper floor of Overgaden during the exhibition: Amalie Smith, Klimakrisen (Lars Skinnebach & Theis Ørntoft), Hannah Heilmann, Ragnhild May and the initiator of the original exhibition Vagn E. Olsson. All of them have been asked to present their version of Musikerne maler, malerne musicerer og digterne holder kæft in a very different era with totally different artists and a whole new range of ‘dos and don’ts’ on the art scene. They, in turn, have invited 28 Danish and international artists with the cross- medial as a central element of their practice to exhibit at Overgaden and contribute to a programme of events during the exhibition.

From 10-11 December Overgaden is organising a seminar in connection with the exhibition, focusing on shifts in the art scene from the late 1980s to today with the participation of a wide range of artists and figures who were formative for contemporary art in Denmark as it looked in 1989.

Participating artists:
Signe Boe, Glenn Christian, Electrolux (Daniel Bøtcher og Vagn E Olsson), Andreas Führer, Lars Arnfred Fynboe, Chiara Giovando, Goodiepal, Rasmus Graff, Felia Gram-Hanssen m. danser Tora Balslev, Claus Haxholm, Ida Marie Hede, Honza Hoeck, Ferdinand Ahm Krag, Karl Larsson, Kasper Lynge, Manet iPad Cover, Anders Mathiasen, Michael Mørkholt, Maya Peitersen, Lea Porsager, Kristian Poulsen, Bjørn Rasmussen, Davide Savorani, Anne Mette Schultz, Spost, TS Sterndolph, Marie Thams, Kasper Vang.

Read more